The Tutor has noticed that class attendance is waning. This is to be expected. With most courses, once students have settled into a routine, they become lax in their efforts. The Tutor wants you to know that this will not do. Not in this class.
To reward those of you who have been diligent with your attendance and class participation, and to give those of you on the fence an incentive to commit to the program, The Tutor invites you to watch the following PSA:
That’s right, class; The Tutor is going to a host a live event featuring YOUR artwork! The gauntlet has been thrown to all you dabblers, dawdlers and dalliers. Will you accept The Tutor’s challenge? Do you have the courage to create and have your work shared?
Everyone who gets their grind on now and completes all of the homework assignments will have their artwork displayed in The Tutor’s Gallery. Those of you who have fallen dreadfully behind in class should use this opportunity to start creating now. More details on The Tutor’s Gallery will be available shortly… so stay tuned!
In the meantime, let’s get on with this week’s lesson. I give you Lesson VIII: Back to Front:
Commendations, students, you’ve completed another class! This week’s homework assignment is to paint the background of your still life drawn in Lesson VII.
Unless you are using watercolor paints, it is generally a good idea to apply a light wash of color over your entire image surface. This is to replace the stark nature of the naked canvas with atmospheric tone. When doing this, be sure to sufficiently thin your paint so that it is transparent enough to not obscure your drawing. You may wish to test the opacity of your paint on a piece of scrap paper.
If you are worried about messing up your drawing during these painting phases, I recommend you photocopy your drawing before beginning to paint. This photocopy can be used to reapply the drawn image at a later time with the transfer technique we learned in Lesson IV.
Once you have completed the color wash, begin painting the background elements of your still life. Start with the most receded elements, and then work your way forward. For example: if your still life is a bowl of fruit on a table in front of a curtain, begin by painting the curtain, then move your way to the table, and then paint the shadows on the table. Do not paint the actual subject(s) of your still life yet.
Since our still life’s background will serve as a stage for the main subject(s) of our work, it is not appropriate to riddle this backdrop with a lot of detail. Too much detail may distract viewers from the subject(s)… so keep your background loose and expressive. Detailing will come later, so focus more on mood and lighting for now.
I’m excited to see your progress by next week’s class, students. See you then!
Take a seat, students. The Tutor has tallied the results of last week’s midterm exam and as a class, we performed below average: in the multiple-choice portion of the quiz, only 68% of correct answers were given. The Tutor has the sneaking suspicion that many of you gave incorrect answers just to get his attention. If this applies to you, please stand up now, face the chalkboard, and write the following 50 times: “I am a bad, bad student. I am not worthy of The Tutor’s yardstick. I will no longer bleed the red ink from The Tutor’s grading pen with such disregard, and promise to perform better in the future.”
For everyone else, The Tutor wants you to know that he is a reasonable man who recognizes that the point of any classroom is to learn and grow… so do not despair over the poor scoring of this first exam. We will learn from our mistakes and grow together as a class in the weeks to come.
Here are the correct answers from last week’s quiz:
Which of the following elements from Lesson I is not a reference to The Molting? Answer: b.) The Tutor’s rubber apron
In Lesson II, which device cannot be used to sharpen a pencil? Answer: a.) a pencil sharpener
In Lesson III, which tool is not named after a character from The Molting? Answer: c.) Staci
In Lesson IV, what does our pencil become? Answer: d.) a dance partner
Which famous comic book couple is The Tutor’s 6-legged teaching assistants named after? Answer: c.) Marv and Goldie
In Lesson V, which of the following does not bespeak our greater purpose? Answer: b.) the mattress where we sleep
When painting a straight line, to what degree should we angle our straightedge? Answer: c.) 135°
In Lesson III, which of the following colors is not amongst The Tutor’s paint tubes? Answer: a.) Neutral Gray
What adjective is missing from this famous quote by Michelangelo: “If people knew how hard I work to gain my mastery, it wouldn’t seem _________ at all.” Answer: b.) wonderful
Which of the following items featured in Lesson VI does Guilty Susie hold in chapter one of The Molting? Answer: d.) a handgun
According to The Tutor, what motivates creativity? Answer: c.) order and chaos
According to The Tutor, what’s the only way for an artist to thrive in a critical and unkind world? Answer: a.) to be proficient in our abilities
How many scratches are on The Tutor’s left cheek? Answer: b.) three
Based on what you’ve seen thus far in The Tutor’s classroom and The Molting comic book, who has yet to sit in the wooden wheelchair? Answer: d.) Uncle Henry
According to The Tutor, what cannot be taught in his classroom? Answer: c.) an artistic “voice”
Surprisingly, the questions most frequently answered incorrectly had noting to do with The Molting comic book (which I know many of you have yet to read), but to elements pertaining exclusively to The Tutor’s written Lesson Plans. For future reference, be sure to not only watch the tutorials, but to read the supporting homework assignments given here.
For example, only 31% of you answered #7 correctly: When painting a straight line, to what degree should we angle our straightedge? The most popular answer given was d.) 180°, which is not an angle at all (as far as our straightedges are concerned!). 180° is the equivalent of resting our straightedges flat against our drawing surfaces when the point of the exercise is to angle them so we can run the body of our paintbrushes along a raised edge. Placing our rulers flat against the canvas will not only result in sloppy lines, but in messy straightedges covered in paint. This information was originally outlined in Lesson I’s Lesson Plan.
Unsurprisingly, the most popular lesson—according to the answers given in the essay portion of the exam—was the one that required interjecting a personal element into our projects: Lesson VI: Selecting a Subject. This pleases The Tutor because it lets him know that you are eager to create! So, wipe off that soiled ruler and brush away those pencil savings… it’s time to leave behind the preparation phase of this class and journey into phase II: Creation! I give you Lesson VII: Large to Small:
Well done, students, you’ve completed another lesson. Your homework assignment is to draw the still life that you assembled in Lessons V & VI. We will be applying paint to this drawing in later lessons, so select an appropriate drawing surface—if you plan on using watercolors, consider using watercolor paper; if you plan on painting with acrylics, consider an illustration board or canvas, etc.
Before you begin to sketch, it’s important to decide where you will be positioned in relation to your still life. Similar to how we don’t want our still life disturbed, it is important that the angle with which we view our still life does not alter greatly… so, pick a comfortable spot, and stick to it.
For many of you, drawing a still life may seem like a difficult leap from our prior lessons, but if you follow The Tutor’s method—begin with large, simple shapes and slowly work down to details—any drawing is attainable. For example, if your still life is a rose in a vase sitting atop a table, draw the table first, then the vase, then the rose, then the leaves, then the stem, then the thorns.
Hello class. We’re halfway through our course, so you know what that means? That’s right, midterms! The Tutor wants to test how closely you’ve been paying attention to his lessons thus far.
As a course refresher, The Tutor has prepared a midterm review. So, brush the lent off of your pinafores, get your notepads and pencils ready, and watch this overview of Lessons I-VI:
Now that you’ve soaked that in, are you ready to put your knowledge to the test? Are you bold enough to accept The Tutor’s challenge and submit… to a quiz?
Good. Take this stack of Scantrons, keep one, and pass the rest back. The Tutor will not tolerate cheating, so no looking over each other’s shoulders, pupils.
When I say go, answer the multiple-choice questions below. When you are finished, please answer the following essay question in the “Comments” section above: in 100-words-or-less, let The Tutor know which lesson has been your favorite thus far, and why. The Tutor values the opinions of all his students, and will use your answers to improve future lessons.
Also: you will notice that several of the quiz questions are related to the comic book series The Molting, and its tie-ins with The Tutor’s Lesson Plan. While The Molting is not required course reading, The Tutor invites you to check out the series, as it will continue to play a part in future lessons. Proceeds from The Molting are used to keep the lights on in The Tutor’s classroom and the bloodstains out of the recess carpet. The Molting comic can be purchased only at www.TheMoltingComic.com. Thanks in advance for your support.
Okay, students, on your marks, get set, go! Start your exams now, and good luck!
There are a total of 15 multiple-choice questions in your exam, plus 1 essay question. Please ensure that you submit an answer to each question. Results will be posted in next week’s lesson plan.
G’day, students. We’re 6 weeks into the course and I’m happy to announce the details for our first fieldtrip… so get your permission slips signed and join me and director/principal Shem Andre Byron for an evening of adventure at San Diego’s Comic-Con!
There, we will debut a new lesson from “The Tutor” and answer questions about the class. The lecture will be followed by a live shadow-casted screening of REPO! The Genetic Opera, and copies of The Molting Comic will be available in the theatre. So, what are you waiting for? Pack your lunchboxes, top off your thermoses, and order your tickets today! Click on the poster below for details. Note: you do not need a ticket to Comic-Con to attend this event; it’s a separate location and independent box office.
Now, please direct your attention to this week’s tutorial: Lesson VI: Selecting a Subject:
Close your Velcro binders and zip up your backpacks, students… we’ve just completed another lesson! This week’s homework assignment is to interject a personal element into your still life from Lesson 5. This may seem simple, but it is perhaps the most challenging assignment yet…
In this class, I can teach you technical aspects of creating artwork, but I cannot provide you with an artistic “voice”. This task is entirely yours.
You will notice that what separates great artists from plebeians is not merely technique, but visual style and motif. For Salvador Dalí, it was a moustache. For Al Hirschfeld, it was “Nina”. For Albert DeSalvo, it was nylon stockings. And for that Zdunich fellow, it’s those imperishable 6-legged pests.
What will your voice be? What can you include in your still life that is specific to you? Many of you are already demonstrating distinctive “voices” within your homework, and your still life should be no different.
This task may seem daunting, but do not fret, dearest students; we don’t need to get everything correct on our first try. Our artwork will mature with us, and so will our “voices”. All that matters is that we consider our personality as we progress so that we are not merely mimicking, but creating.
The “something special” that you add to your still life can be very simple, like a specific color or symbol, or it can be exceptionally complicated, like red pigtails, a handgun, and ruby red slippers.
I look forward to seeing your “voices” develop, students. For details on how to submit your assignment, visit the “Homework” link above. See you next week!
Good morning, students. I hope that you had lovely, productive weekends, and that you’re excited about today’s lesson.
Before we begin, I want to allay a concern that I’ve heard whispered on campus, a worry that the hard work present in your homework may be going unnoticed. The Tutor wants you to know that this is not true.
My six-legged teacher’s aides and I have personally viewed each and every submission thus far, and we are pleased. I’ve stood outside many of your windows at night watching you work, nodding my head in silent approval. Even those of you with “mysterious” accents, separated by great bodies of water, should anticipate surprise visits from time to time.
The point being: we’re all in this together, and The Tutor recognizes that in a world full of “normals”, we artists are different. This difference often leads to feelings of isolation. In these instances, encouragement is critical, so pat each other on the backs, pupils; you’re doing great work!
In this class, great work is not only encouraged, but also rewarded… so expect some treats on the very near horizon. For starters, I’m happy to announce a special appearance and presentation by The Tutor during San Diego’s Comic-Con in July. Stay tuned for more details.
In the meantime, let’s get on with this week’s tutorial: I give you Lesson V: Posing Our Subject:
Felicitations, pupils! You’ve clinched another class. This week’s homework assignment is to set up a still life. In the weeks to come, we will create a painting based on this display. While this assignment may seem straightforward, keep the following considerations in mind:
Firstly: choose a subject (or subjects) that not only interests you, but is appropriate to your skill level: if you’re a beginner, consider choosing something that’s visually simple; advanced students may wish to pick something more complex. A still life can be as basic as a teacup or as nuanced as a warehouse full of mannequins.
Secondly: position you still life near your organized workspace. You should be able to comfortably view your subject while having unobstructed access to your tools.
Thirdly: situate your still life in such a way that it will not be moved or disturbed. We will be spending the next few weeks drawing and painting this display, so we can’t have it changing before we’re done. If a permanent display is not possible within your workspace, considering marking the placement of objects with tape so that your still life can be easily and accurately recreated. A reference photograph wouldn’t hurt either.
Lastly: not only does your display need to be still and consistent, but so does the lighting on your still life. To do this, you will need to set up a specific light source—a directed lamp, for example. Use lighting that creates interesting shadows and highlights on your subject. These contrasting values will be crucial as we begin to paint in later lessons.
As always, submit your completed assignment within this lesson plan. Please refer to the “Homework” link above for more details. See you next week!
We are 4 weeks into the course and every week I receive messages from folks saying they’d really like to join our class, but profess to have no artistic ability. Class, please join me in a collective round of wing flapping and chicken noises.
Thank you. Now that we’ve got that out of our systems, I will address all of you hesitant enrollees with a serious quote by the great artist and Renaissance man, Michelangelo: “If people knew how hard I work to gain my mastery, it wouldn’t seem wonderful at all.”
Similarly, if you breakdown any complicated project into small steps, the end result will not seem unattainable at all. I ask you this: do any of the lessons thus far seem impossible? No. Have enrollees of all ages and skill sets been able to produce exciting and varied homework? Yes.
The point being: ANYONE can learn to paint, and in this classroom, where individuality and creative is treasured, I submit that the only thing holding you back is fear.
Class, another round of flaps and clucks please… thank you.
So… to all you tempted yet apprehensive auditors, The Tutor invites you to tackle your fears, get creative, and “Enroll” in class today!
Now: it’s time to spit out our gum, silence our cell phones, and watch Lesson IV: The Correct Way To Hold A Pencil:
Pat yourselves on the backs, students; you’ve completed another lesson! Your homework assignment is to create an image transfer using paper and pencil.
Step 1: select an image that you like. This can be something that you draw, pull from the web, or take from a newspaper or magazine (like a band’s logo or a panel from a comic book). Print or photocopy this image and feel free to enlarge or shrink it to any size you see fit.
Step 2: place the paper, image-side down, against a flat, illuminated surface (a light table, a window in the sunlight, a Plexiglas board in front of a lamp). Using your sharpened pencil from Lesson II, trace the reverse image onto the backside of your paper.
Step 3: place your image, traced-side down, onto your intended transfer surface (an illustration board, a canvas, a piece of cardboard, etc). You may want to tape the image in place so that it does not move. Now: pressing your pencil firmly against the paper, draw with smooth wiping motions until the entire image is evenly covered by strokes. Remember: we are not writing a letter; we are drawing… so be sure to hold your pencil correctly.
Step 4: remove the paper. An exact image transfer should now be visible. If there are faint areas or gaps in your image, you may have missed a spot when tracing (Step 2) or not thoroughly scrubbed your image during transfer (Step 3). If so, don’t despair; practice makes perfect!
Knowing how to create a successful image transfer is a valuable tool for any painter: having the ability to preserve our original drawings before we cover our lines in paint will ensure that we can always “retrace” our steps, especially if we mess up. And knowing the correct way to hold a pencil will be essential in later lessons.
Once you feel that you have the hang of it, submit videos or pictures of your work. Always remember to state your name and what you’re doing—e.g. “My name is Calliope, and I’m holding a pencil, the correct way, with The Tutor.” Check the “Homework” link above for additional submission details.
Good morning, students. It’s hard to believe that we’re already 3 weeks into the course. I hope that you’re enjoying the lessons thus far. Trust me that the best is yet to come!
The skill and ingenuity present in your homework submissions thus far is impressive, and your passion has inspired The Tutor to expand the scope of this course… so expect some exciting announcements on the horizon!
On the topic of homework: I want to remind those of you submitting videos to attach your files both as “Video Responses” to The Tutor’s lessons on YouTube AND as copy-pasted links within the appropriate lessons here. The Tutor wants your work to get the maximum exposure possible.
Those of you submitting scans or photographs of your artwork, make sure the web links are functional after you’ve posted them. Sometimes breaks in a link occur when a web address is lengthy. In these instances, consider using a free URL-condensing service like TinyURL.com for your submissions. Also: due to privacy settings on social networking sites like Facebook, consider using deviantART or Photobucket to host your images. The Tutor wants your art to be conveniently available to others because it deserves to be seen.
Lastly: The Tutor is pleased to see that many of your submissions incorporate not only visual arts elements, but music, costumes, and videography as well. Your diversity delights The Tutor. That said, if you collaborate with others to bring your projects to life—e.g. shanghai a pal to operate your camera or utilize a popular song as part of your soundtrack—please credit these fine folks alongside your submissions. Even if the Internet doesn’t demand respect for artistic ownership, in this class we will give credit where credit is due. Likewise, if you’re responsible for elements in your submissions that extend beyond the particulars of an assignment (like original music), feel free to list these contributions. The Tutor appreciates artistry of all persuasions.
Note: you do not need to go back and change assignments already turned in, just keep the above points in mind for future submissions. We will grow together as a class, and I will update the “Homework” link above with details as we grow.
Okay, enough with the Red Tape… it’s time to watch Lesson III: Organizing Our Workspace:
Way to go, pupils! Another lesson is in the bag. Your homework assignment is to organize your own creative workspace. How you do this, is up to you. Some artists redesign their workspaces to suit each project; others establish a permanent setup and bend their projects to suit their environment. Your personality will dictate your approach.
Your art station can include as many “tools” as you like, but to complete the remainder of lessons in this course, the following art supplies will need to be collected:
In addition to the materials already outlined in lessons 1 and 2, you will need a couple of flat paintbrushes. I will be using a ½” and a 1” flat brush. If you plan on painting big, you will want to get bigger brushes. If you plan on painting tiny, get smaller ones. All of your paintbrushes should be suited for whatever medium you plan to use (oil paints, watercolors, etc.). My still life will be painted in acrylics.
In terms of paints, black and white will be a bare minimum. For those painting on a budget, a B&W grayscale painting may be the way to go (demerits will never be issued against the economically-challenged in this classroom!). For all others, a basic palette of colors—the sort sold in start-up painter’s kits—will suffice.
You will also need a palette or tray and a couple of jars or cups for paint mixing. If you are using oil-based paints, you will need the appropriate thinners and mediums. The rest of us will use water.
Finally: in the likely event of artistic boo-boos, having an old rag, some paper towels, and an eraser nearby is always a boon.
I think that just about covers it, class. Now go get organized. See you next Tuesday for Lesson IV!
Welcome back, class! I trust that you’re adequately rested and ready to participate in this week’s lesson. Many of you have already submitted homework into the “Comments” section of Lesson I. This pleases The Tutor. I invite you all to take a moment and check out the artwork created by your brave and talented classmates. In this class, we will be supportive of each other’s work.
For those of you who are new to the course, enrollment is always open. To be eligible for the position of valedictorian, however, new enrollees are expected to make up past assignments in a timely fashion and submit these works into the appropriate lesson posts. Check out the new “Homework” link above for more details.
Now, without further delay, let’s get this show on the road! I give you Lesson II: Sharpening Our Pencil:
Congratulations pupils, you’ve completed another lesson! Your homework assignment is to collect the following supplies: a pencil or drawing utensil (a crayon, a piece of chalk, a stick of charcoal) and an appropriate sharpening device (sandpaper, a file, a blade). You may not use a standard pencil sharpener for this exercise.
Once you have your supplies, whittle, shave, strop, or smooth your drawing tool into the sharpest, most tapered point you can manage. The more elongated the point becomes, the more dexterity you will have with your instrument. This will be important as we begin to draw in later lessons.
If you are using a potentially dangerous instrument to sharpen your pencil, be sure to work cautiously, and always direct your sharpening motions AWAY from your body. Your safety is important to The Tutor.
It may take a few tries to get the hang of manually sharpening a pencil—expect to break a point or two in the process—but hang in there until you’ve sculpted a smooth, even bevel to draw with. Then: submit videos and photographs of your finely-sharpened tool(s) to the “Comments” section of this lesson, and be sure to write or state who you are and what you’re doing within the submission—e.g. “My name is Thelonious, and I’m sharpening a pencil with The Tutor.” As always, The Tutor encourages you to be creative with your assignments.
I look forward to seeing your pointy-points, pupils! See you next week for lesson III.
Hello and welcome, pupils. My name is Terrance Zdunich, but, in this classroom, you may address me as The Tutor. Please take your seats. Don’t be shy, now. Fill in all of those open chairs in front of the screen. Class is about to begin!
“Painting A Still Life” is a 14-week course. Every Tuesday, a new lesson will be released. How well you do in this class will depend on you, pupils, but attendance is mandatory, homework will be given, and rules will be strictly enforced.
Enrollment is always open, so click the “Enroll” button to be notified of new lessons from The Tutor. Feel free to recommend this course to your friends and family. The Tutor does not discriminate enrollees based on race, age, gender, or creed. The only prerequisite is absolute obedience.
Now, eyes forward, backs straight… Class is in session! I give you Lesson I: How To Paint A Straight Line:
Congratulations on completing your first lesson, pupils. Your homework assignment is to collect the following supplies: 1 medium, round paintbrush; a straightedge (any rigid surface will suffice—wood, metal, plastic); some paints (I am using watered-down acrylic, but your medium is up to you); and a painting surface that suits your medium (illustration board, canvas, watercolor paper, cardboard, etc.).
Once you have your supplies, place your straightedge at a 135° angle against your surface, carefully drag your paint-dipped brush along the angled edge, and start making lines!
Once you feel comfortable with your line-making abilities, submit your progress in the “Comments” section below. Photographs or scans of your work are fine, but links to videos of you demonstrating your new skills are preferred. Please begin your video submissions by stating your name and what you’re doing—e.g. “My name is Barnabas, and I am painting a straight line with The Tutor.”
At the end of this 14-week course, those who have practiced diligently and completed all of the lessons will receive a progress report and a letter grade from The Tutor. One exceptional student will be named valedictorian. He or she will receive an original piece of art from The Tutor, and a special feature within this lesson plan.
While technique is important, The Tutor is also interested in seeing your creativity and originality. Don’t be afraid to be different. Don’t be intimidated if you feel your art skills aren’t up to par with some of the other entrees. And don’t forget to have fun!
I look forward to your seeing your progress, pupils. See you next week for Lesson II.
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